Nr 24, 3 sept, 2018 BLUESoROCK Magazine


    Bob Dylan’s 2018 Setlists Are Starting to Get Interesting



    Välkommen till BLUESoROCK Magazine.

Charles Dickens
TID: 22:00 – 03:00



MARTIN NILSSON TID: 11:00 – 11:00 FÖRKÖP: 100 KR


Metallica’s ‘And Justice for All’: What Happened to the Bass?

Will the celebrated record, which is home to the singles “One” and “Eye of the Beholder,” ever offer justice for four-stringer Jason Newsted?

1988: Bassist Jason Newsted of the heavy metal quartet "Metallica" performs onstage in 1988.

“I was so in the dirt,” former Metallica bassist Jason Newsted has said of how he felt when his first full-length with the group, … And Justice for All, came out. “I was so disappointed when I heard the final mix. I basically blocked it out, like people do with shit.”

The album, which turns 30 this year, is one of Metallica’s greatest masterworks. Its songs are lengthy, nuanced statements on political devolution (the title track and “Eye of the Beholder”), the atrocities of war (the single “One”) and dealing badly with difficult family lives (“Dyers Eve,” “Harvester of Sorrow”). The music is especially intricate, with deftly constructed movements and difficult time signatures well outside the usual rock & roll head-bobbing beats — quite an accomplishment for a bunch of guys from California in their mid-twenties. Since its release, many of the tracks have become set-list staples for the group, and it’s been certified eight-times platinum, making it the second-best selling record in the band’s catalogue. It’s ranked high on Rolling Stone’s list of the Greatest Metal Albums of All Time, and “One,” with its chest-rattling machine-gun drumming and traumatizing lyrics, has been covered by everyone from Korn to the acoustic flamenco duo Rodrigo y Gabriela. It’s the record that broke Metallica into the mainstream, yet it has one flaw that has trailed it for the last three decades: it has practically no bass guitar.

“I can’t explain how much grief I dealt with – and still deal with – over that record,” Newsted has said.

By all accounts, though, what he recorded for the album was brilliant – it just was not audible on the finished LP. “Jason is one hell of a bass player,” Justice co-producer Flemming Rasmussen told Rolling Stone in 2016. “I’m probably one of the only people in the world, including Jason and Toby Wright, the assistant engineer, who heard the bass tracks on … And Justice for All, and they are fucking brilliant.”

So what happened?

After their previous bassist, the iconic Cliff Burton, died in a bus accident in September 1986, Metallica pushed forward immediately. “We decided that the smartest thing we could do was to keep going,” drummer Lars Ulrich has said. “We laid Cliff to rest a week or two after the accident, and then there wasn’t five minutes after that [to process it] because if we slowed down, we were afraid we were going to disappear into nothingness or go so far into the abyss that we wouldn’t be able to pull ourselves up.”

They reached out to their friend, Metal Blade Records founder Brian Slagel, for suggestions and set up auditions the week after Burton’s funeral. They were ultimately most impressed by one of Slagel’s suggestions, Newsted, who’d been playing with the Phoenix metal group Flotsam and Jetsam, a band so enamored with Metallica that they too had written a song that shared a title with one of Metallica’s, “Fade to Black.”

“Jason had this incredibly useful positive energy and was like a fireball,” Ulrich remembered. “He came in and was gung-ho and ready; he just had the right attitude, the chemistry and his personality and approach to his instrument were really unique. And he could not have been more of a 180 from Cliff, so it wasn’t like were getting a ‘Cliff Junior’ replacement.”

Metallica Talk 30 Years of ‘Master of Puppets’: ‘We Were Just Kids’

The new boy at work: Jason Newsted, Metallica’s new bass player, works out with James Hetfield in the San Francisco band’s concert at Maple Leaf Gardens last night. Their lightning-fast, monotonal rock met with the approval of 5,000 leathered and denimed headbangers.

They finished up their Master of Puppets tour commitments — “Jason really rose to the occasion,” guitarist Kirk Hammett remembered — and they found a sense of musical clarity on the road that they hadn’t expected. “We grew up a lot, ’cause by the next tour, we were a little more mature,” Hammett said. “We were a bit more focused. We were also playing well. And out of that desire to play well came [1988’s] … And Justice for All.”

But before they hit the studio, they decided to shake the cobwebs off and record a handful of cover songs for what would become 1987’s The $5.98 E.P.: Garage Days Re-Revisited. They credited Newsted on his first recordings as “Master J. Newkid” and chose songs that showed him off, like Diamond Head’s “Helpless,” which featured an unaccompanied bass-guitar break, and Holocaust’s “The Small Hours,” which throbs with low-end. They self-produced the release (or “not very produced” it, as the credits say) and kicked it out in the summer of 1987, a few months before recording … And Justice for All with Master co-producer Rasmussen.

The only song to feature a Newsted writing credit was “Blackened.” “I wrote [the main riff] on bass,” he remembered in a Guitar World interview. “I’m fucking around with this riff, and then [singer-guitarist James Hetfield] started playing along, and the song started forming right at that time. … Him going, ‘Dude, that riff’s good enough to open our fucking album,’ really gave me a feeling of victory, because I looked up to him greatly, and still do to this day.” The rest of record featured songs by Hetfield, Ulrich and Hammett and the near-instrumental “To Live Is to Die” was an amalgam of music Burton had left behind and, as such, it’s the place on the album where the bass is most pronounced with its grinding riffs and punchy rhythms.

RS 500 Greatest songs ever

Rolling Stone's definitive list of the 500 greatest songs of all time.
"The 500 Greatest Songs of All Time" was the cover story of a special issue of Rolling Stone, issue number 963, published in December 2004, a year after the magazine published its list of "The 500 Greatest Albums of All Time".

500 - Boston - More Than A Feeling
499 - Thin Lizzy - The Boys Are Back In Town
498 - Brook Benton - Rainy Night In Georgia
497 - Weezer - Buddy Holly
496 - The Rolling Stones - Miss You
495 - Smokey Robinson & The Miracles - Shop Around

Lyssna på dessa låtar, klicka här

Vi presenterar listan här i fallande ordning, lägre nummer betyder bättre placering.

Bob Dylan’s 2018 Setlists Are Starting to Get Interesting

On the final night of his overseas tour, he pulled out two ‘Highway 61’ classics he hadn’t played in years

Bob Dylan performs in 2012

In the last few years, Bob Dylan’s Never Ending Tour has featured plenty of thrilling moments with one major setback: little set list variation. While fans in the mid-2000s never knew what Dylan was going to play when he took the stage, since 2013 they have been all but guaranteed to hear “Things Have Changed” as the first song, followed mostly by other well-rehearsed moments. One fan noted that Dylan has performed “Pay in Blood” more than 400 times since the song was released in 2012. He’s played “Early Roman Kings,” from the same album, even more. With these almost identical set lists, Dylan has seemed determined to lock into his own songs and find new meaning in them, or else drive his band crazy.

That’s starting to change. In Seoul, South Korea, last month, Dylan broke his opening-song streak by starting his set with 1967’s “All Along the Watchtower,” a song he hadn’t played live for three years. His summer overseas run also featured the first live versions of 1979’s “Gotta Serve Somebody” and 1971’s “When I Paint My Masterpiece” in seven years.

But Dylan saved the biggest surprises for the final night of his 17-night tour. In Christchurch, New Zealand, today, he pulled out “Like a Rolling Stone,” which he’d played only once in the last five years, and the even more rare “It Takes a Lot to Laugh, it Takes a Train to Cry” for the first time since 2005. The Highway 61 Revisited classics, which were recorded on the same day in June 1965, delighted hardcore Dylan fans on the site Expecting Rain. No recordings have surfaced yet, but reports say that he’s reinvented “Like a Rolling Stone”; one fan called it “a lovely new arrangement with slow passages where [bassist Tony Garnier] bowed the double bass.”

“It Takes a Lot to Laugh” has been in Dylan’s rotation since he played it at the 1965 Newport Folk Festival, when it was called “Phantom Engineer.” Dylan reworked the shuffle during the Highway 61 sessions, and it became one of his greatest blues songs. (It ranked number 61 on Rolling Stone’s 100 Greatest Dylan Songs.) Fans heard an excellent version of the song on June 30th, 1999 at Madison Square Garden, when Dylan joined Eric Clapton for an epic seven songs at the Crossroads Benefit, a show raising money for Clapton’s rehabilitation center. They performed an upbeat, swinging version of the track and clearly had a lot of fun together; it’s fascinating to hear Dylan’s sloppy, spare rhythmic lead style happening while Clapton unleashes his guitar fireworks.

Bob Dylan - Eric Clapton - It Takes a Lot to Laugh, It Takes a Train to Cry - 1999 Jun 30

Dylan’s recent setlist shakeups prove that he’s still busy being born when it comes to performing. “Songs don’t come alive in a recording studio,” he told Rolling Stone‘s Mikal Gilmore in 2012. “You try your best, but there’s always something missing. What’s missing is a live audience.” The moves also pose great possibilities for his upcoming U.S. tour, which kicks off October 4th in Phoenix, Arizona. American audiences may get to hear these classics for the first time in years. Or he just might defy fans and go back to the standard set of the last few years. Right now, all we know is that he does not care what you think either way.

Here’s the last time he played “Like a Rolling Stone” before the New Zealand show, at Desert Trip in 2016.


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Lennart Gullstrand

The BLUES is the roots
and the rest are the fruits

RS 500 best album ever

The RS 500 was assembled by the editors of Rolling Stone. In 2003, Rolling Stone asked a panel of 271 artists, producers, industry executives and journalists to pick the greatest albums of all time.

Vi fortsätter presentera listan på Rolling Stone Magasine 500 Best Album ever, som vi startade med i nr 13.

308 Sun Records Collection Boxed Set Disc 1
Spela album 308, Disc 1

308 Sun Records Collection Boxed Set Disc 2
Spela album 308, Disc 2

308 Sun Records Collection Boxed Set Disc 3
Spela album 308, Disc 3

293 - 1972 - Simon and Garfunkel - Greatest Hits
Spela album 293

292 - 1968 - The Velvet Underground - White Light White Heat

291 - 1975 - Bob Dylan and The Band - The Basement Tapes

290 - 1977 - Talking Heads - Talking Heads 77

289 - 1973 - Al Green - Call Me

288 - 1967 - The Kinks - Something Else By The Kinks

Vi presenterar listan här i fallande ordning, lägre nummer betyder bättre placering. Vi väljer ut vissa album som vi spelar. Vill du höra någon av de andra, hör gärna av dig!

Description by

Some of the greatest artists in the history of music got their starts at Sun Records. Jerry Lee Lewis, Carl Perkins, Johnny Cash, and Roy Orbison are just some of the many who helped create the rock and rockabilly sounds Sun was renowned for. On these two discs you'll get fifty of the greatest Sun sessions that helped lay down the early roots of rock and roll - some of the masterworks included are "Blue Suede Shoes" by Carl Perkins, "I Walk The Line" by Johnny Cash, and "Whole Lotta Shakin' Goin' On" by Jerry Lee Lewis. As a bonus, the 200-page book, "Sun Records, An Oral History", with a foreword by rock critic Dave Marsh is included FREE in this wooden box set.

Includes 192 page book with forward by Dave Marsh.
Includes liner notes by Al Fichera. Digitally remastered by Little Walter Devenne.

While there's a ton of great stuff here by some of the most legendary artists of the 20th century -- and Johnny Cash continued into the 21st century, as well -- there are far too few "hits" here for this double-disc collection to be definitive. There were jukebox hits, like those for Howlin' Wolf, there were regional and national smashes, too, but not one tune from Elvis Presley's Sun sessions is here, despite the fact that all the producers needed to do was license the material from an all too willing Sony/BMG. That said, there is a great wealth of actual Sun material here that is not often heard, with tracks by Bill Justis, Rufus Thomas, Charlie Rich and Charlie Feathers, and many others. If you are looking for some tremendous American roots music recorded by Sun in Memphis, this is a terrific collection to own, but it is far from being the only one that matters. ~ Thom Jurek

Disc 1, 2 och 3 finns nu att spela upp, se album 308 i RS 500 best album ever överst i denna kolumn.

Lite blandat från förr

Ur spillrorna av Knock-Out Greg & Blue Weather uppstod The Beat From Palookaville, som gjort bejublade spelningar och nu finns på CD med Numero uno! (Enviken Records). Mike Sanchez, Sven Zetterberg och KO Greg gästar i varsin låt. Musiken är en skön mix av ska, rhythm & blues och blues. Mike Sanchez har också gjort en skiva, där han kompas av just The Beat From Palookaville; Babes and Buicks heter den. Lily Mae sjunger fyra låtar. Vi kommer snart att få in den. Blues & Rhythm: ”This is some exciting music, believe me. - - - He ain´t no mere copyist or pale pastiche, Sanchez is the real deal. - - - This is a disc I can recommend without reservation.”

Den i mitt tycke bäste bluesartisten idag jämte Buddy Guy, Lucky Peterson, har, med risk för överproduktion, ännu en ny CD ute; Every second a fool is born, på JSP. Rätt tuff är den, med rena hårdrockssolon stundtals, men Lucky är bra på dynamik, så det gives lugnare stunder också. Fru Tamara sjunger på ett par spår.

Mycket retro och återutgivningar är det. En modern soulskiva – fast retro – jag fallit pladask för är R. Kellys Love letter. Första gången jag hörde låten When a woman loves i en bilradio i USA, utbrast jag. ”Va f-n, den här killen sjunger ju som Jackie Wilson!!!!”. Nu har jag hört hela skivan, och det finns ett gäng nästan lika fina låtar till på den

Och nu blir det ännu mer återtgivningar: Serien It´s a deep soul thing från Vol.5 med fantastiskt fin och obskyr deep soul. Paul Kelly, LaVern Baker (Born to lose är det bästa jag hört med henne), C.L. Blast, Betty Harris… Korta presentationer finns av inspelningarna, vilka fdm är med för mig helt okända namn.
Samma bootlegsnubbar gör även serien It´s a southern soul thing Vol.1 och 2.
Samma ena är det säkert också bakom serien A deep dip into…Memphis/Texas/Georgia/Florida resp Muscle Shoals.
Förmodligen de också med Deep & gritty – The sound of the city: Vol.1: New York och Vol.2: Chicago. Superb musik rakt igenom samtliga serier med förvånansvärt bra ljudåtergivning från singelskivor.

Mera historia: Ace´s 3-CD-box The Music City story: Street corner doo wop, raw R&B, and soulful sounds from Berkeley, California, 1950-75. Några få namn känner man igen; Johnny Heartsman, Jackie Day, Little Willie Littlefield, bland ett myller av (mestadels) svängiga och roliga lokala artister. 48-sidig booklet.

I ett tidigare nyhetsbrevet informerade vi om att vi nu har skivor från The Numero Group i Chicago. Syl Johnson- boxen fick förstås ”star pick” i In The Basement. Boxen är både nördig och snygg med sina 81 låtar (varav 10 outgivna) - allt Syl gjorde före Hi – både på CD (4 st) och vinyl-LP (6 st) och en stor, rikt illustrerad, booklet med en 35000-ords essä m m. ITB: ”I´m almost at a loss for words as to how to review this. - - - It really is an absolutely amazing work - - - This is the real deal, you can touch it, you can hold it and you can cherish it. Try saying that about an MP3!”.
Syl Johnson vid New Orleans Jazz & Heritage Festival 1997.

”CD of the Month” i ett tidigare Blues & Rhythm (nr 257) är Toghether – The complete Modern and Kent recordings med Al King & Arthur K. Adams (Ace CDCHD 1292). Man bör nog gilla både blues och soul för att uppskatta skivan fullt ut. Al King var en god sångare, kanske mest känd från singlarna på Shirley och Sahara. Adams en excellent gitarrist och sångare, som fört en tillvaro i skymundan som studiogitarrist och bandledare på B.B. King´s Blues Club i Los Angeles.

// Tommy Löfgren